Architect Study
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Frank Lloyd Wright (Mini Bio)
Frank Lloyd Wright, born on June 8, 1867, was an American architect best know for the creation of the prairie-style home. In his early adulthood, he dropped out of the University of Wisconsin and moved to Chicago to become and architect. Throughout his career, Wright endeavored to incorporate the natural landscape of a site into his designs-- and supposedly succeeded with his many wide, flat prairie style homes he built in the Midwest. Arguably, his most iconic build is Taliesin, Wright's home and studio in Wisconsin, and its sister in Arizona-- Taliesin West. Over his lifetime, Wright built Taliesin three times after two fires destroyed the building. One, in 1914, killed his wife while the other, in 1925, was caused by an electrical fire. |
Concept Drawing
For my concept drawing of Frank Lloyd Wright, I focused on incorporating the symmetry and patterns often found in some of his most memorable works. The left structure was based off part of the mock-up replica of the Imperial hotel-- formerly located in Japan but was torn down in 1968. To the right, I rendered as many of his buildings, mostly his prairie-style houses, as I could.
Throughout the whole concept drawing, I kept the coloring in accordance with tan/beige, grey, and his almost-signature burnt red that he used throughout many of his works. I also made sure to emphasize Wright's use of floor-to-ceiling windows as walls by including the Meyer May house (bottom right), the Herbert Jacobs house (middle), and the Elam house (top right).
For my concept drawing of Frank Lloyd Wright, I focused on incorporating the symmetry and patterns often found in some of his most memorable works. The left structure was based off part of the mock-up replica of the Imperial hotel-- formerly located in Japan but was torn down in 1968. To the right, I rendered as many of his buildings, mostly his prairie-style houses, as I could.
Throughout the whole concept drawing, I kept the coloring in accordance with tan/beige, grey, and his almost-signature burnt red that he used throughout many of his works. I also made sure to emphasize Wright's use of floor-to-ceiling windows as walls by including the Meyer May house (bottom right), the Herbert Jacobs house (middle), and the Elam house (top right).
Project 01- Fibonacci Cube
Fibonacci Spiral
Seen to the right is my Fibonacci spiral drawing. It is based on the Fibonacci sequence of adding one number with the one directly before it in the sequence (0,1,1,2,3,5,8,13,21...) The sequence was applied to the drawing by finding the center of a 12x18 in. paper, then measuring a 1x1 in. square to the bottom left of the intersection. From there, I created new squares based on the Fibonacci sequence. The spiral was created with a compass adjusted so that the radius was set to the length of one of the cube sides.
This exercise was done as a prerequisite to the Fibonacci Cube model that we worked on throughout the rest of the semester.
Seen to the right is my Fibonacci spiral drawing. It is based on the Fibonacci sequence of adding one number with the one directly before it in the sequence (0,1,1,2,3,5,8,13,21...) The sequence was applied to the drawing by finding the center of a 12x18 in. paper, then measuring a 1x1 in. square to the bottom left of the intersection. From there, I created new squares based on the Fibonacci sequence. The spiral was created with a compass adjusted so that the radius was set to the length of one of the cube sides.
This exercise was done as a prerequisite to the Fibonacci Cube model that we worked on throughout the rest of the semester.
Drawings and Models
The final drawing for the three plane Fibonacci model I later chose to turn into the Fibonacci cube. Shows orthographic projections
(all on the left at 1/2 scale) of the model including the overhead roof top view( right middle) , elevations for the front (middle left), the left (top most), and right (bottom left) as well as a slice of the model (bottom right). Shows a praline drawing of the model at full scale.
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Three-Plane Study
The Three-Plane study was designed to teach the analysis of different useful spaces. I built three unique models from three cardboard planes that were 2x3 in., 3x5 in., and 5x8 in. Without much suggestion on direction, I assembled them randomly. then put them in a white 8x8x8 in. foam-core cube with a grid on the bottom. By putting them in this cube, I could see the different spaces each formed depending on where in the cube the model was placed. I like the the third model (see the drawing above) because of its division of space into three usable spaces, which the other two did not create as well. The two models in the pictures above were the two that I thought formed weaker, less usable spaces (the model I did choose is shown in the drawing above). From there , I added more places (all with the same dimensions listed above) and 1/8" basswood sticks to create my final cube model (seen below and in the drawing to the right). |
 Final paraline drawing of the completed Fibonacci Cube. The original model is shown in red
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Final Cube Model
For the final model, I created an undefined primary space and a defined secondary space within the model. The primary, undefined space sits in front of the secondary space where the open corner is. The secondary space sits behind the primary space. It can be best seen in the left picture where the two 2x3 planes enclose a smaller space. In the right most picture, you can see the secondary space is further enclosed by 1/8 in, basswood sticks.
My most intentional decision within this model was to leave the top plane (what could be a roof) open. By leaving the top undefined, the primary space remains more undefined and smoothly blends into the secondary space.
For the final model, I created an undefined primary space and a defined secondary space within the model. The primary, undefined space sits in front of the secondary space where the open corner is. The secondary space sits behind the primary space. It can be best seen in the left picture where the two 2x3 planes enclose a smaller space. In the right most picture, you can see the secondary space is further enclosed by 1/8 in, basswood sticks.
My most intentional decision within this model was to leave the top plane (what could be a roof) open. By leaving the top undefined, the primary space remains more undefined and smoothly blends into the secondary space.